سلطة الحداثة على الاستبدال الجمالي ( دراسة في الواقعية النقدية والانطباعية )

Abstract

The research dealt with (the authority of modernity over aesthetic substitution ( a study in critical and impressionistic realism ) and included four chapters: the first of which concerned the methodological framework of the research, and it contained the research problem in which the authority of modernity was highlighted over aesthetic substitution ( a study in critical and impressionistic realism ), and it was determined Research problem by answering the following question:

) ـ What is the nature of artistic difference in the institutions and results of both the critical realism and impressionism movements ? (

      As for the second chapter, it included the theoretical framework that contained three topics, the first included the realist critical school: the human content and the style of drawing, while the second topic covered the stage of modernity and the philosophical upheaval, and with regard to the third topic, it included the Impressionist school: visualization and technical transformation. The third chapter deals with the research procedures, while the fourth chapter contains the results and conclusions Among these results :.

1- The construction of the artistic painting shifted between the closed with the traditional system presented by the models (1, 2) in contrast to the openness presented by the models (3, 4) to express a higher freedom in the systems of artistic architecture that had come to be pre-ruled and to indicate a distinct aesthetic contrast over time.

2- A clear shift in the selection of places between a humanistic treatment based on depicting the working class and what they suffer in their daily activities in models (1, 2) , and between my transformation path towards beautifying the environment and searching for sites that have a psychological impact on the viewer and in what leaves a directed impression of the place and life In the stage of modernity, this is what models (3, 4) have provided .

Conclusions:

1- The intellectual consistency with the visions imposed by a certain stage is characterized by the renewal of ideas and opposition to previous opinions, and this in turn requires the invention of new ways of showing in painting in particular, and the selection of new themes for pictorial representation that were not shown in this way or were not addressed at all. It is an aesthetic replacement imposed by the intellectual authority of an era.

2- Despite the formal and color similarity in the ways of showing between one artistic stage and another, but the variations are in the content that is represented artistically, such as some topics that were marginalized in one era, and which were not familiar such as the lives of the common people and their daily practices, and this It is an aesthetic replacement in one way or another.